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Xiaoshuo in the Taiping Guangji 1) View metadata, citation and similar papers at core.ac.uk brought to you by CORE Collection, Classification and Conception of Xiaoshuo in the Taiping Guangji 1) Xiaohuan Zhao Introducing Remarks This paper aims to investigate the classificatory system of a genre of classical Chi- nese literature known as “xiaoshuo” 小說 (petty talk) in the Taiping guangji 太平廣記 (Extensive Records of the Era of Supreme Peace, hereafter as TPGJ) in 500 juan 卷 (scroll). This multi-volume xiaoshuo anthology was compiled during a period bearing the title “Supreme Peace and Nation Restored” (Taiping xingguo 太平興國, 976–983) under the reign of Emperor Taizong 太宗 (r. 976–998) of the Northern Song dynasty 北宋 (960–1127).2) I will start with a brief review of the historical background for the compilation of TPGJ and its textual history. I will then make an investigation into the organization and structure of TPGJ and analyze the rationale behind the establish- ment and arrangement of xiaoshuo categories in it. And finally I will draw a conclu- sion on the early Song conception of xiaoshuo as revealed through the xiaoshuo collec- tion and classification in TPGJ. The earliest attempt at a systematic classification of xiaoshuo as a genre of literature independent from historical and philosophical writings was made by the Ming 明 bib- liophile Hu Yinglin 胡應麟 (1551–1602),3) who divided xiaoshuo into six categories, al- though he admitted that there existed overlapping areas in his hex-classificatory scheme, especially with regard to the generic relations between zhiguai 志怪 (records of the strange) and chuanqi 傳奇 (transmissions of the marvellous).4) “In case of this,” he suggested, “classification should be based on what is most emphasized” [gu ju qi zhong er yi 姑舉其重而已].5) Some twentieth century scholars also state this principle, implicitly or explicitly, in their studies of traditional Chinese literature,6) as shown in Y. W. Ma’s categorisation of biji 筆記 [note-form literature] which is “mainly based on proportion.”7) What is said of the xiaoshuo classification by Hu Yinglin is even more true of TPGJ, which, with nearly 7,000 entries included in 500 juan, boasts the largest collection of classical Chinese fiction ever seen. Any attempt at a classification of this book will inevitably run the risk of overgeneralizing or oversimplifying due to its huge size and great variety of sources, styles and subject matters. In the light of this, I will follow the principle as adopted by Hu and Ma of classifying according to what is most prominent and dominant. Chinese Renaissance under the Song The collapse of the Tang 唐 dynasty in 907 was immediately followed by a transi- tional period of internal division and civil strife conventionally designated as “the Five 1 Dynasties and Ten Kingdoms” 五代十國 until China was reunited under the Song in 960. The Song dynasty endured frequent military clashes with nomadic peoples on its northern frontiers ever since it was established, but this did not prevent notable prog- ress in cultural spheres, which “found no match in the preceding Han 漢 (206 BCE– 220 CE) and Tang (618–907) dynasties nor in the ensuing Yuan 元 (1206–1368) and Ming (1368–1644) dynasties.”8) “Having gone through several thousand years of evo- lution,” as observed by Chen Yinke 陳寅恪 (1890–1969), “Chinese culture reached its apex under the ruling House of Zhao in the Song dynasty,”9) which witnessed the “Chinese Renaissance” characterized by “the return to the classical tradition, the diffu- sion of knowledge, the upsurge of science and technology (printing, explosives, ad- vance in seafaring techniques, the clock with escapement, and so on), a new philoso- phy, and a new view of the world.”10) In Chinese literary history, the Song dynasty is best known for the golden age of the ci 詞 poetry11) and huaben 話本 fiction.12) The xiaoshuo tradition, which had its ori- gin mainly in Pre-Qin 秦 (221–206 BCE) philosophical, historical and miscellaneous writings, did not become a lost art under the Song.13) Rather, after the Tang, this genre of literature continued to be written and read and collected into anthologies and ency- clopaedia.14) Having suffered a short period of recession during the Five Dynasties and Ten Kingdoms, the Tang Aancient-style Prose [guwen 古文] Movement led by Han Yu 韓愈 (768–824) and Liu Zongyuan 柳宗元 (773–819), gained momentum during the Song dynasty,15) and developed into an even more mellow prose style for students and scholars of later dynasties to imitate.16) The development of ancient-style prose writing, together with the rise of ci poetry, and huaben fiction, is the most distinctive lit- erary achievement of the Song. However, the cultural prosperity and intellectual ferment of the Song express them- selves not only in the wide practice among scholars and story-tellers of classical-style prose, ci poetry, xiaoshuo and huaben fiction, but also in the establishment and expan- sion by the founders of Song of imperial libraries and institutes of learning. Most significant of them was the restoration on the old sites in the second year of the Taip- ing era (977) of the Three Institutes (San guan 三館),17) and the latter addition to the San guan of the Privy Gallery (Bi ge 秘閣), which was built as a private library for Emperor Taizong.18) Almost at the same time, the Directorate of Education (Guozi jian 國子監) was also restored to train aristocratic students through Confucian classics and prepare them for taking up appointments in the central and provincial government. The Guozi jian served not merely as the Imperial College to train high officials but also as the highest supervisory institute responsible for selecting, examining and printing books for the court and college.19) The Song dynasty also witnessed “the transition from the manuscript age to the age of print.”20) The woodblock printing technology (diaoban yinshua shu 雕版印刷術), which made its first appearance in the Tang dynasty, had come into common use by Song times.21) Running parallel to the development of printing technology was the great passion of the founding emperors of the Song for book collection, compilation and publication.22) In no more than 20 years, the imperial holdings of books rose significantly from 12,000 juan in the first year of the reign of Emperor Taizu 太祖 (r. 960–975) to 46,000 juan as a result of the transmission of a total of 33,000 juan from 2 the royal libraries of newly conquered states Jingnan 荊南 (963) and the Southern Tang 南唐 (976) and of the donation of 1,000 juan from court officials.23) Meanwhile, the number of engraved woodblocks kept by the Directorate of Education also en- joyed a sharp increase from no more than 4,000 during the reign of Emperor Taizu to as many as 100,000 plus in the second year of the Jingde 景德 era (1005) under the reign of Emperor Zhenzong 真宗 (r. 998–1022).24) The advancement in printing tech- nology, the restoration and expansion of imperial libraries and institutes of learning, and most importantly, the political need “to allay discontent among the literati schol- ars from the newly conquered southern states”25) and “to make manifest the position of Taizong as the legal successor to the Tang heritage,”26) all made a grand-scale com- pilation of multi-volume leishu 類書 (categorized books) possible and necessary. In the Songshi yiwenzhi 宋史藝文志 (Bibliographical Section of History of the Song Dy- nasty),27) three hundred and seven titles are given as leishu, and the majority of them were compiled in Song times with no more than fifty dating from the Sui and Tang or earlier times.28) Among numerous leishu produced in the Song dynasty, some were relatively short and on restricted groups of topics, others longer than any which had previously appeared. The most influential of them are the TPGJ, the Taiping yulan 太 平御覽 (hereafter as TPYL), the Wenyuan yinghua 文苑英華 (hereafter as WYYH), and the Cefu yuangui 冊府元龜 (The Grand Tortoise of the Libraries and Archives, hereaf- ter as CFYG), which add up to a total of 3,500 juan and are collectively known as “the Four Great Books of the Song” (Song si da shu 宋四大書). Textual History and Current Editions of TPGJ The TPGJ in 500 juan was compiled under the supervision of Li Fang 李昉 (925– 996) mostly from unofficial historical, anecdotal, miscellaneous, and fictional writ- ings.29) As recorded in the “TPGJ biao” 太平廣記表 (Memorial Submitted to the Throne on TPGJ) (dated in 981),30) this project got started in the third month of the second year of the Taiping era, and took thirteen distinguished scholars eighteen months to bring it to completion, but it was not until the sixth year of the Taiping era (981) that TPGJ was carved onto wooden blocks. The engraved blocks of this edition, however, was “kept in the Tower of Supreme Purity (Taiqing lou 太清樓) due to the lack of any pressing academic need for it to be printed.”31) Before long, however, this woodblock edition of TPGJ found its way out of the ivo- ry tower into the hands of people who either read it for fun or drew on it for inspira- tion, as vividly recorded by the Northern Song scholars Chao Jiong 晁迥 (951–1034) in juan 5 and 9 of his Fazang suijin lu 法藏碎金錄 (Collected Splintered Gold of Bud- dhist Canon) (prefaced in 1027), Wang Pizhi 王闢之 ( Jinshi 進士 in 1067) in juan 9 of his Shengshui yantan lu 澠水燕談錄 (Records of Casual Talk on the Shengshui River) (prefaced in 1095), and Zhang Bangji 張邦基 in juan 2 of his Mozhuang manlu 墨莊漫錄 (Casual Notes from the Ink Village),32) and the Southern Song story-teller/compiler Luo Ye 羅燁 in the preface to his Zuiweng tanlu 醉翁談錄 (Collected Talks of a Drunk- ard).33) The earliest bibliographical record of TPGJ is found in the leishu section of the Chongwen zongmu 崇文總目 (General Catalogue of the Imperial Library in Honor of Literature, hereafter as CWZM) compiled by Wang Yaochen 王堯臣 (1002–1058).34) 3 This book was also listed in the two most influential Southern Song annotated bibliog- raphies of private holdings, Chen Zhensun’s 陳振孫 (ca.
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